SKU: HL.9971312

ISBN 9781423473626. UPC: 884088363871. 8.5x11.0x0.082 inches. John Jacobson/John Higgins.

The Polar Bears are throwing a bear-y big holiday celebration at the North Pole and their guests from around the world are starting to arrive – black bears and brown bears, rapping grizzlies, pirouetting dancing bears, teddy bears, Kodiaks from nearby Alaska, and more! But what is taking the Pandas so long? The wait is becoming un-bear-able! Join in the festive panda-monium when the bear-y small Pandas finally arrive in true vaudeville style and the party begins! From the popular writing team of John Jacobson and John Higgins comes this clever and easy-to-prepare 20-minute holiday musical for primary grades that will delight audiences of all ages. Five original songs, rhyming dialog, choreography and staging tips are included in the Teacher Edition, and vocal parts and dialog are available in the handy Reproducible Pak. Check out the Classroom Kit for a real budget-saver! Available separately: Teacher Edition, Reproducible Pak, Preview CD (with vocals), Preview Pak (1 Preview CD and sample pages), Performance/Accompaniment CD, Classroom Kit (Teacher Edition, Reproducible Pak, P/A CD). Duration: ca. 20 minutes. Suggested for grades K-3.

SKU: HL.49032706

ISBN 9783795717254. German.

Fragt man nach den Beziehungen Bachscher Choralbearbeitungen zum Kantionalsatz, stellt sich die Frage nach den Tonarten der Choralmelodien. Das eingehende Studium der Geschichte der Tonarten zeigt, dass sowohl deren Lehre als auch der Gebrauch, den die Komponisten von den Tonarten machten, einem steten Wandel unterlag. Anhand von Analysen ausgewahlter Liedmelodien verdeutlicht der Autor, welche Satztraditionen vom Beginn des 16. Jahrhunderts bis zu Bachs Lebzeiten lebendig blieben und in welcher Weise Bach diese Traditionen aufnimmt und verwandelt. Die Beschaftigung mit der Satzlehre und Theorie jener Epoche erweist sich auch deshalb als fruchtbar, weil dem heutigen Musiker der Blick auf die historischen Bedingtheiten der Werke Bachs oftmals durch sein Wissen um die spatere Musikentwicklung seit der Wiener Klassik verdeckt wird.

SKU: FT.FM597

ISBN 9790570484966.

The story of this composition really begins with another composition entitled 'Play-Time' for solo piano. I showed the score for 'Play-Time' to a friend, Boryana Petkova a very talented pianist from Bulgaria, to whom I eventually dedicated 'the Dancing Bear'. After showing her 'Play-Time' she commented that part of it sounded like a Bulgarian folk dance. The potential of this intrigued me quite a lot so I sketched out a few bars intent on writing another piano piece based around this idea (the melodic line first heard in the Tuba part in the fifth bar after letter A). However, upon discussing these sketches with Boryana she mentioned they no longer sounded particularly Bulgarian.  As this was the main aim of the sketches that eventually became 'The Dancing Bear' it is fair to say I was slightly miffed. Undeterred I decided to shift focus and write for the instrument I knew best, the Tuba. The 'Bear' part of the title refers to the tendency of composers to use Tubas to represent angry bears, most famously in Stravinsky's ballet 'Petrushka'. Musically it still contains quite a few elements of eastern European dance including the use of drones, some typical scales with flattened seconds and sevenths as well as the rhythmic oscillation between bars of 2,2,2,2 and 3,3,2 quaver (8th note) division. However, the goal for me was to writes a slightly humorous piece, with a technically demanding Tuba part, that could show off the musicians abilities and still retain the feel of a rhythmical dance.

SKU: M7.VHR-3879

ISBN 9783864341236.

Teddy-Bear's Waltz - in this enjoyable little waltz you can imagine a teddy-bear trying to dance - a little bit clumsy, but with a certain elegance. This composition fosters the study of changing finger patterns, key signatures and small glissandi. While the parts of violin 1, viola 1 and cello 1 include challenging passages (cello-part up to the 4th position), the parts of violin 2, viola 2 and cello 2 can be played by students in the first or second year of learning the instrument. Technique required: Vl. 1 and 2: all finger patterns in the 1st position Vla. 1 and 2: all finger patterns in the 1st position Cl. 1: 1st - 4th position. This part can also be played by the Viola 1 (in 1st position) Cl. 2: closed (regular) 1st position DB.: 1st position.